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104_3 | Outstanding Special Class Writing
1980s
1989
Scott J.T. Frank and Tom Avitabile - When I Grow Up (CBS)
David Forman and Barry Adelman - Soap Opera Digest Awards (NBC) |
104_4 | 1990s
1990
Robert Kirk - Remembering World War II ("Pearl Harbour") (SYN)
Glenn Kirschbaum - Remembering World War II ("Hitler: Man & Myth") (SYN)
Team - The Home Show (ABC)
Hester Mundis and Toem Perew - The Joan Rivers Show (SYN)
David Forman and Barry Adelman - Soap Opera Digest Awards (NBC)
1991
Team - Jeopardy! (SYN)
Joan Rivers, Hester Mundis, and Toem Perew - The Joan Rivers Show (SYN)
David Forman and Barry Adelman - Soap Opera Digest Awards (NBC)
1992
Kerry Millerick, Julie Engleman, and Neal Rogin - Spaceship Earth: Our Global Environment (Disney Channel)
Team - Jeopardy! (SYN)
Joan Rivers, Hester Mundis, and Toem Perew - The Joan Rivers Show (SYN)
Robert Thornton - The Streets (ABC)
1993
Victoria Costello - This Island Earth (Disney Channel)
Team - Jeopardy! (SYN)
Joan Rivers, Hester Mundis, and Toem Perew - The Joan Rivers Show (SYN)
1994
Team - Jeopardy! (SYN)
Robert Thornton - Northern Lights (ABC)
1995 |
104_5 | Bob Carruthers - Dinosaurs Myths & Reality (Disney Channel)
Team - Jeopardy! (SYN)
Robert Thornton - Wings as Eagles (ABC)
Rosser Mcdonald - Nicaragua: Finding Peace (NBC)
1996
Team - Jeopardy! (SYN)
Rosser Mcdonald - Haiti: Mountains and Hopes (NBC)
Brad Gyori, Stan Evans, and Mark Tye Turner - Talk Soup (E!)
1997
Team - Jeopardy! (SYN)
Team - Leeza (NBC)
Brad Gyori, Stan Evans, and John Henson - Talk Soup (E!)
1998
Team - Jeopardy! (SYN)
Team - Leeza (NBC)
Team - The Rosie O'Donnell Show (SYN)
Team - Win Ben Stein's Money (Comedy Central)
1999
Team - Win Ben Stein's Money (Comedy Central)
Team - Jeopardy! (SYN)
Team - Pop-Up Video (Vh1)
Team - The Rosie O'Donnell Show (SYN)
Christian McKiernan, Beverly Kopf, and Andrew Smith - The View (ABC) |
104_6 | 2000s
2000
Team - Win Ben Stein's Money (Comedy Central)
Team - Jeopardy! (SYN)
Team - Pop-Up Video (Vh1)
Team - The Rosie O'Donnell Show (SYN)
Christian McKiernan, Beverly Kopf, and Andrew Smith - The View (ABC)
2001
Christian McKiernan, Julie Siegel, and Andrew Smith - The View (ABC)
Team - Pop-Up Video (Vh1)
Team - Jeopardy! (SYN)
Team - The Rosie O'Donnell Show (SYN)
Team - Win Ben Stein's Money (Comedy Central)
2002
Team - Jeopardy! (SYN)
Team - Pop-Up Video (Vh1)
Team - Spyder Games (MTV)
Christian McKiernan, Julie Siegel, and Andrew Smith - The View (ABC)
Team - Win Ben Stein's Money (Comedy Central)
2003
Team - Jeopardy! (SYN)
Team - Surprise by Design (Discovery Channel)
Team - Pop-Up Video (Vh1)
Christian McKiernan, Julie Siegel, and Andrew Smith - The View (ABC)
Team - Win Ben Stein's Money (Comedy Central)
2004
Team - Win Ben Stein's Money (Comedy Central)
Team - The Ellen DeGeneres Show (SYN)
Team - Jeopardy! (SYN) |
104_7 | Christian McKiernan, Julie Siegel, and Andrew Smith - The View (ABC)
2005
Team - The Ellen DeGeneres Show (SYN)
Team - Jeopardy! (SYN)
Christian McKiernan, Julie Siegel, and Andrew Smith - The View (ABC)
2006
Team - The Ellen DeGeneres Show (SYN)
Alex Paen - Animal Rescue (SYN)
2007
Team - The Ellen DeGeneres Show (SYN)
John Scheinfeld - Biography ("Child Stars: Teen Rockers") (A&E)
Alex Paen - Animal Rescue (SYN)
2008
Christian McKiernan, Janette Barber, and Andrew Smith - The View (ABC)
Team - The Ellen DeGeneres Show (SYN)
Scott Gardner - Today's Homeowner with Danny Lipford (SYN)
2009
David Dunlop and Connie Simmons - Landscapes Through Time with David Dunlop (PBS)
Alex Paen - Animal Rescue (SYN)
Mark Waxman - Macy’s Thanksgiving Day Parade (NBC)
Laura McKenzie - Laura McKenzie's Traveler (SYN)
Team - The Ellen DeGeneres Show (SYN) |
104_8 | 2010s
2010
Michael Stevens, Sara Lukinson, and George Stevens Jr. - We Are One: The Obama Inaugural Celebration at the Lincoln Memorial (HBO)
Team - The Bonnie Hunt Show (SYN)
Alex Paen - Animal Rescue (SYN)
Team - The Ellen DeGeneres Show (SYN)
2011
Team - The Ellen DeGeneres Show (SYN)
Chip Ward and Darley Newman - Equitrekking (PBS)
Alan J. Weiss, Douglas Arvid Wester, and Deborah Gobble - Teen Kids News (SYN)
Team - Rally to Restore Sanity and/or Fear (Comedy Central)
2012
Team - The Ellen DeGeneres Show (SYN)
Mark Waxman - Macy's Thanksgiving Day Parade (NBC)
Team - Pop-Up Video (Vh1)
Christine Ferraro - Sesame Street ("All Together Against Hunger") (PBS)
2013
Team - The Ellen DeGeneres Show (SYN)
Chip Ward and Darley Newman - Equitrekking (PBS)
Anthony Knighton and Brooke Ninowski - The Joni Show (Daystar)
2014
Team - The Ellen DeGeneres Show (SYN)
Andrew Ames and Mercedes Ildefonso Velgot - Born to Explore with Richard Wiese (SYN) |
104_9 | Dave Boone - Disney Parks Christmas Day Parade (ABC)
Joseph Rosendo - Travelscope (PBS)
Erin Zimmerman - Made in Israel (ABC Family)
2015
Andrea Levin, John Redmann, and Anjie Taylor - The Talk (CBS)
Andrew Ames and Mercedes Ildefonso Velgot - Born to Explore with Richard Wiese (SYN)
Team - The Ellen DeGeneres Show (SYN)
Jim Lichtenstein, Stephanie Himango, and John Murphy - The Henry Ford’s Innovation Nation (CBS)
2016
Jim Lichtenstein, Stephanie Himango, and John Murphy - The Henry Ford’s Innovation Nation (CBS)
Team - 30th Independent Spirit Awards (IFC)
Erin Zimmerman - The Hope: The Rebirth of Israel, Part 2 (ABC Family)
Bianca Giaever - Videos 4 U: I Love You (This American Life)
Vince Sherry - Xploration Earth 2050 (FOX)
2017
Tim McKeon, Mark De Angelis, and Adam Peltzman - Odd Squad: The Movie (PBS)
Brad Lachman and Mark Waxman - Macy's Thanksgiving Day Parade (NBC)
Team - The Ellen DeGeneres Show (SYN)
Team - 31st Independent Spirit Awards (IFC) |
104_10 | John Chester - SuperSoul Shorts ("Maggie the Cow") (OWN)
2018
Team - Super Soul Sunday: The Orphan (OWN)
Team - The Ellen DeGeneres Show (SYN)
Team - The Henry Ford's Innovation Nation (CBS)
Team - Xploration Earth 2050 (SYN)
Team - Xploration Outer Space (SYN) |
104_11 | 2020s
2021
Xploration Outer Space (SYN)
The Henry Ford's Innovation Nation (CBS)
Life 2.0 (SYN)
Lucky Dog with Brandon McMillan (CBS)
This Old House (PBS)
Rock the Park (SYN)
References
Special Class Writing |
105_0 | Exhibitions
Solo exhibitions
2020
Smile!, Nicola Erni Collection, Steinhausen, Switzerland
2019
Mario Testino: East, Hamiltons Gallery, London
Superstar, Erarta Museum of Contemporary Art, Saint Petersburg, Russia
2017
Undressed, Helmut Newton Foundation, Berlin, Germany
2016
No Limits, Kunstforeningen GL STRAND, Copenhagen, Denmark
2015
In Your Face, Kunstbibliothek / Kulturforum, Staatliche Museen zu Berlin, Berlin, Germany
2014
Alta Moda, Dallas Contemporary, Dallas, US
In Your Face, Fundação Armando Alvares, Penteado (FAAP), São Paulo, Brazil
Extremes, Yvon Lambert Gallery, Paris, France
In Your Face, MALBA, Buenos Aires, Argentina
2013
Alta Moda, Queen Sofía Spanish Institute, New York, US
Private View, Seoul Arts Center, Seoul, South Korea
Alta Moda, Mate – Museo Mario Testino, Lima, Peru
Mario Testino, Prism, Los Angeles, US |
105_1 | 2012
Private View, Shanghai Art Museum, Shanghai, China
British Royal Portraits, Museum of Fine Arts, Boston, US
In Your Face, Museum of Fine Arts, Boston, US
British Royal Portraits, National Portrait Gallery, London, UK
Todo o Nada, Mate – Museo Mario Testino, Lima, Peru
Private View, Today Art Museum, Beijing, China
Moss Testino, The Finstock Gallery, London
2011
Todo o Nada, Fondazione Memmo – Palazzo Ruspoli, Rome, Italy
2010
Todo o Nada, Museo Thyssen-Bornemisza, Madrid, Spain
Kate Who?, Phillips de Pury & Company, London, UK
Portraits, Museo de Arte de Lima, Lima, Peru
2008
Obsessed by You, Phillips de Pury & Company, London, UK
2007
Out of Fashion, NRW Forum, Düsseldorf, Germany
2006
Out of Fashion, Phillips de Pury & Company, Paris, France
Portraits, Museo San Ildefonso, Mexico City, Mexico
Disciples, Galería Ramis Barquet, Monterrey, Mexico
Out of Fashion, Phillips de Pury & Company, New York, US |
105_2 | 2005
Diana, Princess of Wales by Mario Testino, Kensington Palace, London, UK
2004
Portraits, Tokyo Metropolitan Museum of Photography, Tokyo, Japan
2003
Disciples, Timothy Taylor Gallery, London, UK
Portraits, National Galleries of Scotland, Edinburgh, UK
2002
Portraits, Foam Fotografiemuseum, Amsterdam, Netherlands
Portraits, Museo Palazzo Reale, Milan, Italy
Boys and Girls, Galleri Charlotte Lund, Stockholm, Sweden
Portraits, National Portrait Gallery, London, UK
2000
Mario Testino, Galerie Vedovi, Brussels, Belgium
1999
Amsterdam, Timothy Taylor Gallery, London, UK
Front Row / Backstage, Visionaire Gallery, New York, US
1998
Mario Testino, Mary Boone Gallery, New York, US
Fashion Photographs, Fundação Armando Alvares Penteado (FAAP), São Paulo, Brazil
A New Venture, Galleria Raucci/Santamaria, Naples, Italy
1997
Fashion Photographs 1993–1997 & Images for Gucci, Bunkamura Gallery, Tokyo, Japan
Art collection exhibitions |
105_3 | 2014
Somos Libres II, Pinacoteca Giovanni e Marella Agnelli, Turin, Italy
2013
Somos Libres, MATE – Museo Mario Testino, Lima, Peru
Bibliography |
105_4 | Books and catalogues
WOW, Superlabo, 2020
Ciao, Taschen, 2020
Pasito a Paso, MATE – Museo Mario Testino, 2019
Fina Estampa, MATE – Museo Mario Testino, 2018
Undressed Taschen, 2017
Sir Taschen, 2015
Alta Moda MATE (Museo Mario Testino), 2013
In Your Face Taschen, 2012
Private View Taschen, 2012
Kate Moss by Mario Testino Taschen, 2011
Kate Who? Phillips de Pury, 2010
Todo o Nada, Museo Thyssen-Bornemisza, 2010
MaRIO DE JANEIRO Testino Taschen, 2009
Obsessed by You Phillips de Pury, 2008
Let Me In! Taschen, 2007
Out of Fashion Phillips de Pury, 2006
Diana Princess of Wales by Mario Testino at Kensington Palace Taschen, 2005
Kids Scriptum Editions, 2003
Disciples Timothy Taylor Gallery, 2003
Portraits Bulfinch Press, 2002
Alive Bulfinch, 2001
Front Row/Backstage Bulfinch, 1999
Any Objections? Phaidon, 1998
Fashion Photographs Fundação Armando Alvares Penteado (FAAP), 1998
Fashion Photographs 1993-1997 & Images for Gucci Art Partner, 1997 |
105_5 | Selected special projects and guest editorships
2014
Vogue Japan 15th Anniversary Special Edition (Obsession) by Mario Testino
Welt am Sonntag Special Edition by Mario Testino
German Vogue Special Edition (Blonde) by Mario Testino
Somos Libres II, Rizzoli
2013
Vogue China 100th Issue Special Edition by Mario Testino
Vogue Brasil Special Edition (Body) by Mario Testino
Vogue Paris Special Edition (Peru) by Mario Testino
2012
Spanish Vogue Special Edition (Celebration) by Mario Testino
2011
Bruma, 20 Hoxton Square Projects, London, UK
Vogue Brasil 36th Anniversary Special Edition by Mario Testino
2008
German Vogue Special Edition (Sex) by Mario Testino
2007
Mario Testino: At Home, Yvon Lambert Gallery, New York, US
Lima Peru, Damiani
2006
Stern Portfolio, No. 53 (Mario Testino)
2005
New Photography Selected by Mario Testino, Photo London, Burlington Gardens, London, UK
Visionaire, No. 46 (Uncensored)
2004 |
105_6 | Instinctive: Latin American Artists Selected by Mario Testino, Andrea Rosen Gallery, New York, US
2001
Dutch, No. 34 by Mario Testino
Visionaire, No. 35 (Man)
Pirelli Calendar 2001
2000
Stern Portfolio, No. 20 (Mario Testino Party)
1998
A Coincidence of the Arts by Mario Testino and Martin Amis, Coromandel Express
1997
Dutch, No. 1 by Mario Testino
Visionaire, No. 22 (Chic)
References
Testino, Mario |
106_0 | Pandit Suman Ghosh is an internationally acclaimed Hindustani Classical Vocalist of the Mewati Gharana of Hindustani Classical Music and a torch-bearing disciple of Sangeet Martand Pandit Jasraj. He is the founder and President of the Center for Indian Classical Music of Houston (CICMH).
Early life
Pandit Suman Ghosh was born on 6 January 1967 to Smt. Monica Ghosh and Shri Biman Krishna Ghosh. Pandit Ghosh started his musical education under the guidance of his mother and unequivocal support of his father. Pandit Suman Ghosh continued his formal training, first under Maestro Pandit Shrikant Bakre, a torch-bearer of the great Ustad Amir Khan. Then, he was groomed by Padma Bhushan Pandit Jnan Prakash Ghosh for several years. Finally, Pandit Suman Ghosh underwent several years of intense training on and off stage, with the living legend, Padma Vibhushan Sangeet Martand Pandit Jasraj.
Besides pursuing music, he has earned a Bachelor's and a master's degree from University of Calcutta. |
106_1 | Career
Pandit Suman Ghosh, is a performer of note and is also committed to the cause of spreading Hindustani Classical Music and its rich and age-old tradition not only in India, but throughout the world. His vision is to enrich every individual by musically awakening their inner spiritual self. He has dedicated the past 30 years of his life to selflessly serving the global human community through his performances and spreading this tradition through his teachings, thus promoting and cultivating this beautiful art in particular and Indian Culture as a whole.
The Performer
Pandit Suman Ghosh gave his first full concert at the age of 12. He soon became one of the youngest ever artists in All India Radio to perform in three different genres. |
106_2 | As an established musician, he performs regularly all over the United States, Canada, Europe and India. In India, he has performed in several prestigious events like Pandit Motiram Pandit Maniram Sangeet Samaroh, Saptak Annual Festival of Music and the Malhar Festival. He has also had the privilege of singing before Dr. A P J Abdul Kalam, former President of India, both at Rashtrapati Bhavan in 2000 and during Dr. Kalam's visit to USA in 2011.
The Guru
Pandit Suman Ghosh combines academics and performance with ease. He has done research in ethnomusicology funded by many European and American organizations and has given several lectures on the complex art of the Indian Classical Music System. He was the only music scholar from India to have been invited to present his research at the conference organized by International Association of Sound and Audiovisual Archives (IASA) in Vienna, Austria in 1999, in celebration of 100 years of Sound Archiving. |
106_3 | In addition to being a performer, Pandit Ghosh has a vision to spread not only this art in its purest form, but also other aspects of the Indian Culture, traditions and ethos as well, making it accessible to all, far and beyond the Indian Sub-Continent. As a necessary step towards this goal, he founded Center for Indian Classical Music of Houston (CICMH), Houston, USA, 2008.
The Consulate General of India hosted a reception in his honor in 2016 to recognize his contributions as a true ambassador of Indian Culture. He has also earned a Lifetime Achievement Award from the North American Bengali Conference in 2015.
Awards and Recognitions
2016 - Reception by the Honorable Consul General of India in recognition of his work as a true Ambassador of Indian Culture
2015
- LIFETIME ACHIEVEMENT AWARD, NABC (35th North American Bengali Conf), July 2015
-"A Night of Musical Bliss", Times Of India,
2014 -"Virtuoso performer" Concert Review, Times of India |
106_4 | 2011 - Proclamation from the Office of the Mayor of City of Sugar Land for Pt. Ghosh’s ‘tireless efforts and motivation on preserving and keeping the ancient Indian tradition alive for present and future generations’
2010 - Tagore Award, India Culture Center of Houston and the Indian Consulate
2008 -Acharya Varishtha, bestowed by Padma Vibhushan Pandit Jasraj, 2008
2005 -Gold Medal of Excellence for the MUSICAL SCORING, Hollywood Film ‘Dancing in Twilight’ Park City Film Music Festival
References
Homage for a Guru , IAN, 2016
http://www.indoamerican-news.com/moods-of-%E2%80%9Cashta-prahar%E2%80%9D-musically-unfolded-by-cicmh/
http://www.indoamerican-news.com/on-mission-on-target-india-house-gala-celebrates-a-busy-year/
http://www.indoamerican-news.com/houston-rath-yatra-2015-a-unique-spiritual-experience/
http://www.indoamerican-news.com/houston-chariot-festival-shree-jagannath-rath-yatra-2015/ |
106_5 | http://www.indoamerican-news.com/indias-flag-flutters-in-morning-breeze-goals-unveiled-in-evening-reception/
http://www.indoamerican-news.com/sri-durga-puja-at-vedanta-society-of-greater-houston-brings-in-devotees-despite-the-rain/
http://www.indoamerican-news.com/confluence-by-tsh-leaves-the-audience-spellbound/
http://www.indoamerican-news.com/lord-krishna-janmashtami-at-iskcon-of-houston/
http://www.indoamerican-news.com/republic-day-reception-by-indian-consulate-introduces-new-ambassador/
http://www.indoamerican-news.com/sweet-srimad-bhagavatam-showers-drench-listeners-from-houston-and-around-usa/
http://www.indoamerican-news.com/pandit-jasraj-vocal-concert-an-epitome-of-musical-spirituality/
http://www.indoamerican-news.com/consular-reception-for-the-republic-hits-high-notes-for-culture/
http://www.indoamerican-news.com/classical-concert-reaches-spiritual-heights/
http://www.indoamerican-news.com/north-south-a-jugalbandi-to-remember/ |
106_6 | http://www.indoamerican-news.com/iaccgh-gala-shows-strides-south-asian-businesses-have-made-during-last-decade/
http://www.indoamerican-news.com/devotees-enthralled-by-houston-area-artists/
http://www.indoamerican-news.com/indian-artists-perform-at-rice-radio%E2%80%99s-21st-annual-outdoor-show/
External links
Official site
Hindustani singers
Living people
Mewati gharana
1967 births
Place of birth missing (living people) |
107_0 | Jean Maurice Eugène Clément Cocteau (, , ; 5 July 1889 – 11 October 1963) was a French poet, playwright, novelist, designer, filmmaker, visual artist and critic. He was one of the foremost creatives of the surrealist, avant-garde, and Dadaist movements; and one of the most influential figures in early 20th-century art as a whole. The National Observer suggested that, “of the artistic generation whose daring gave birth to Twentieth Century Art, Cocteau came closest to being a Renaissance man.” |
107_1 | He is best known for his novels Le Grand Écart (1923), Le Livre Blanc (1928), and Les Enfants Terribles (1929); the stage plays La Voix Humaine (1930), La Machine Infernale (1934), Les Parents terribles (1938), La Machine à écrire (1941), and L'Aigle à deux têtes (1946); and the films The Blood of a Poet (1930), Les Parents Terribles (1948), Beauty and the Beast (1946), Orpheus (1950), and Testament of Orpheus (1960), which alongside Blood of a Poet and Orpheus constitute the so-called Orphic Trilogy. He was described as "one of [the] avant-garde's most successful and influential filmmakers" by AllMovie. Cocteau, according to Annette Insdorf, “left behind a body of work unequalled for its variety of artistic expression.” |
107_2 | Though his body of work encompassed many different mediums, Cocteau insisted on calling himself a poet, classifying the great variety of his works – poems, novels, plays, essays, drawings, films – as "poésie", "poésie de roman", "poésie de thêatre", "poésie critique", "poésie graphique" and "poésie cinématographique".
Biography |
107_3 | Early life
Cocteau was born in Maisons-Laffitte, Yvelines, a town near Paris, to Georges Cocteau and his wife, Eugénie Lecomte; a socially prominent Parisian family. His father, a lawyer and amateur painter, committed suicide when Cocteau was nine. From 1900 to 1904, Cocteau attended the Lycée Condorcet where he met and began a relationship with schoolmate Pierre Dargelos, who would reappear throughout Cocteau's oeuvre. He left home at fifteen. He published his first volume of poems, Aladdin's Lamp, at nineteen. Cocteau soon became known in Bohemian artistic circles as The Frivolous Prince, the title of a volume he published at twenty-two. Edith Wharton described him as a man "to whom every great line of poetry was a sunrise, every sunset the foundation of the Heavenly City..."
Early career |
107_4 | In his early twenties, Cocteau became associated with the writers Marcel Proust, André Gide, and Maurice Barrès. In 1912, he collaborated with Léon Bakst on Le Dieu bleu for the Ballets Russes; the principal dancers being Tamara Karsavina and Vaslav Nijinsky. During World War I, Cocteau served in the Red Cross as an ambulance driver. This was the period in which he met the poet Guillaume Apollinaire, artists Pablo Picasso and Amedeo Modigliani, and numerous other writers and artists with whom he later collaborated. Russian impresario Sergei Diaghilev persuaded Cocteau to write a scenario for a ballet, which resulted in Parade in 1917. It was produced by Diaghilev, with sets by Picasso, the libretto by Apollinaire and the music by Erik Satie. "If it had not been for Apollinaire in uniform," wrote Cocteau, "with his skull shaved, the scar on his temple and the bandage around his head, women would have gouged our eyes out with hairpins." |
107_5 | An important exponent of avant-garde art, Cocteau had great influence on the work of others, including a group of composers known as Les six. In the early twenties, he and other members of Les six frequented a wildly popular bar named Le Boeuf sur le Toit, a name that Cocteau himself had a hand in picking. The popularity was due in no small measure to the presence of Cocteau and his friends.
Friendship with Raymond Radiguet |
107_6 | In 1918 he met the French poet Raymond Radiguet. They collaborated extensively, socialized, and undertook many journeys and vacations together. Cocteau also got Radiguet exempted from military service. Admiring of Radiguet's great literary talent, Cocteau promoted his friend's works in his artistic circle and arranged for the publication by Grasset of Le Diable au corps (a largely autobiographical story of an adulterous relationship between a married woman and a younger man), exerting his influence to have the novel awarded the "Nouveau Monde" literary prize. Some contemporaries and later commentators thought there might have been a romantic component to their friendship. Cocteau himself was aware of this perception, and worked earnestly to dispel the notion that their relationship was sexual in nature. |
107_7 | There is disagreement over Cocteau's reaction to Radiguet's sudden death in 1923, with some claiming that it left him stunned, despondent and prey to opium addiction. Opponents of that interpretation point out that he did not attend the funeral (he generally did not attend funerals) and immediately left Paris with Diaghilev for a performance of Les noces (The Wedding) by the Ballets Russes at Monte Carlo. Cocteau himself much later characterised his reaction as one of "stupor and disgust." His opium addiction at the time, Cocteau said, was only coincidental, due to a chance meeting with Louis Laloy, the administrator of the Monte Carlo Opera. Cocteau's opium use and his efforts to stop profoundly changed his literary style. His most notable book, Les Enfants Terribles, was written in a week during a strenuous opium weaning. In , he recounts the experience of his recovery from opium addiction in 1929. His account, which includes vivid pen-and-ink illustrations, alternates between his |
107_8 | moment-to-moment experiences of drug withdrawal and his current thoughts about people and events in his world. Cocteau was supported throughout his recovery by his friend and correspondent, Catholic philosopher Jacques Maritain. Under Maritain's influence Cocteau made a temporary return to the sacraments of the Catholic Church. He again returned to the Church later in life and undertook a number of religious art projects. |
107_9 | Further works
On 15 June 1926 Cocteau's play Orphée was staged in Paris. It was quickly followed by an exhibition of drawings and "constructions" called Poésie plastique–objets, dessins. Cocteau wrote the libretto for Igor Stravinsky's opera-oratorio Oedipus rex, which had its original performance in the Théâtre Sarah Bernhardt in Paris on 30 May 1927. In 1929 one of his most celebrated and well known works, the novel Les Enfants terribles was published. |
107_10 | In 1930 Cocteau made his first film The Blood of a Poet, publicly shown in 1932. Though now generally accepted as a surrealist film, the surrealists themselves did not accept it as a truly surrealist work. Although this is one of Cocteau's best known works, his 1930s are notable rather for a number of stage plays, above all La Voix humaine and Les Parents terribles, which was a popular success. His 1934 play La Machine infernale was Cocteau's stage version of the Oedipus legend and is considered to be his greatest work for the theater. During this period Cocteau also published two volumes of journalism, including Mon Premier Voyage: Tour du Monde en 80 jours, a neo-Jules Verne around the world travel reportage he made for the newspaper Paris-Soir.
1940–1944 |
107_11 | Biographer James S. Williams describes Cocteau's politics as "naturally Right-leaning." During the Nazi occupation of France, he
was in a "round-table" of French and German intellectuals who met at the Georges V Hotel in Paris, including Cocteau, the writers Ernst Jünger, Paul Morand and Henry Millon de Montherlant, the publisher Gaston Gallimard and the Nazi legal scholar Carl Schmitt.
His friend Arno Breker convinced him that Adolf Hitler was a pacifist and patron of the arts with France's best interests in mind. In his diary, Cocteau accused France of disrespect towards Hitler and speculated on the Führer's sexuality. Cocteau effusively praised Breker's sculptures in an article entitled 'Salut à Breker' published in 1942. This piece caused him to be arraigned on charges of collaboration after the war, though he was cleared of any wrongdoing and had used his contacts to his failed attempt to save friends such as Max Jacob. |
107_12 | In 1940, Le Bel Indifférent, Cocteau's play written for and starring Édith Piaf (who died the day before Cocteau), was enormously successful.
Later years
Cocteau's later years are mostly associated with his films. Cocteau's films, most of which he both wrote and directed, were particularly important in introducing the avant-garde into French cinema and influenced to a certain degree the upcoming French New Wave genre.
Following The Blood of a Poet (1930), his best known films include Beauty and the Beast (1946), Les Parents terribles (1948), and Orpheus (1949). His final film, Le Testament d'Orphée (The Testament of Orpheus) (1960), featured appearances by Picasso and matador Luis Miguel Dominguín, along with Yul Brynner, who also helped finance the film. |
107_13 | In 1945 Cocteau was one of several designers who created sets for the Théâtre de la Mode. He drew inspiration from filmmaker René Clair while making Tribute to René Clair: I Married a Witch. The maquette is described in his "Journal 1942–1945," in his entry for 12 February 1945:
In 1956 Cocteau decorated the Chapelle Saint-Pierre in Villefranche-sur-Mer with mural paintings. The following year he also decorated the marriage hall at the Hôtel de Ville in Menton.
Private life
Jean Cocteau never hid his homosexuality. He was the author of the mildly homoerotic and semi-autobiographical Le livre blanc (translated as The White Paper or The White Book), published anonymously in 1928. He never repudiated its authorship and a later edition of the novel features his foreword and drawings. The novel begins: |
107_14 | Frequently his work, either literary (Les enfants terribles), graphic (erotic drawings, book illustration, paintings) or cinematographic (The Blood of a Poet, Orpheus, Beauty and the Beast), is pervaded with homosexual undertones, homoerotic imagery/symbolism or camp. In 1947 Paul Morihien published a clandestine edition of Querelle de Brest by Jean Genet, featuring 29 very explicit erotic drawings by Cocteau. In recent years several albums of Cocteau's homoerotica have been available to the general public.
It is widely believed that Cocteau had affairs with Raymond Radiguet, Jean Desbordes, Marcel Khill, and Panama Al Brown.
In the 1930s, Cocteau is rumoured to have had a very brief affair with Princess Natalie Paley, the daughter of a Romanov Grand Duke and herself a sometime actress, model, and former wife of couturier Lucien Lelong. |
107_15 | Cocteau's longest-lasting relationships were with French actors Jean Marais and Édouard Dermit, whom Cocteau formally adopted. Cocteau cast Marais in The Eternal Return (1943), Beauty and the Beast (1946), Ruy Blas (1947), and Orpheus (1949). |
107_16 | Death
Cocteau died of a heart attack at his château in Milly-la-Forêt, Essonne, France, on 11 October 1963 at the age of 74. His friend, French singer Édith Piaf, died the day before but that was announced on the morning of Cocteau's day of death; it has been said, in a story which is almost certainly apocryphal, that his heart failed upon hearing of Piaf's death. Cocteau's health had already been in decline for several months, and he had previously had a severe heart attack on 22 April 1963. A more plausible suggestion for the reason behind this decline in health has been proposed by author Roger Peyrefitte, who notes that Cocteau had been devastated by a breach with his longtime friend, socialite and notable patron Francine Weisweiller, as a result of an affair she had been having with a minor writer. Weisweiller and Cocteau did not reconcile until shortly before Cocteau's death. |
107_17 | According to his wishes Cocteau is buried beneath the floor of the Chapelle Saint-Blaise des Simples in Milly-la-Forêt. The epitaph on his gravestone set in the floor of the chapel reads: "I stay with you" ("Je reste avec vous").
Honours and awards
In 1955, Cocteau was made a member of the Académie Française and The Royal Academy of Belgium.
During his life, Cocteau was commander of the Legion of Honor, Member of the Mallarmé Academy, German Academy (Berlin), American Academy, Mark Twain (U.S.A) Academy, Honorary President of the Cannes Film Festival, Honorary President of the France-Hungary Association and President of the Jazz Academy and of the Academy of the Disc.
Filmography
Works
Literature
Poetry
Novels
Theatre
Poetry and criticism
Journalistic poetry
Film
Director
Scriptwriter
Dialogue writer
Director of Photography
Artworks |
107_18 | Recordings
Colette par Jean Cocteau, discours de réception à l'Académie Royale de Belgique, Ducretet-Thomson 300 V 078 St.
Les Mariés de la Tour Eiffel and Portraits-Souvenir, La Voix de l'Auteur LVA 13
Plain-chant by Jean Marais, extracts from the piece Orphée by Jean-Pierre Aumont, Michel Bouquet, Monique Mélinand, Les Parents terribles by Yvonne de Bray and Jean Marais, L'Aigle à deux têtes par Edwige Feuillère and Jean Marais, L'Encyclopédie Sonore 320 E 874, 1971
Collection of three vinyl recordings of Jean Cocteau including La Voix humaine by Simone Signoret, 18 songs composed by Louis Bessières, Bee Michelin and Renaud Marx, on double-piano Paul Castanier, Le Discours de réception à l'Académie française, Jacques Canetti JC1, 1984
Derniers propos à bâtons rompus avec Jean Cocteau, 16 September 1963 à Milly-la-Forêt, Bel Air 311035
Les Enfants terribles, radio version with Jean Marais, Josette Day, Silvia Monfort and Jean Cocteau, CD Phonurgia Nova , 1992 |
107_19 | Anthology, 4 CD containing numerous poems and texts read by the author, Anna la bonne, La Dame de Monte-Carlo and Mes sœurs, n'aimez pas les marins by Marianne Oswald, Le Bel Indifférent by Edith Piaf, La Voix humaine by Berthe Bovy, Les Mariés de la Tour Eiffel with Jean Le Poulain, Jacques Charon and Jean Cocteau, discourse on the reception at the Académie française, with extracts from Les Parents terribles, La Machine infernale, pieces from Parade on piano with two hands by Georges Auric and Francis Poulenc, Frémeaux & Associés FA 064, 1997
Poems by Jean Cocteau read by the author, CD EMI 8551082, 1997
Hommage à Jean Cocteau, mélodies d'Henri Sauguet, Arthur Honegger, Louis Durey, Darius Milhaud, Erik Satie, Jean Wiener, Max Jacob, Francis Poulenc, Maurice Delage, Georges Auric, Guy Sacre, by Jean-François Gardeil (baritone) and Billy Eidi (piano), CD Adda 581177, 1989
Le Testament d'Orphée, journal sonore, by Roger Pillaudin, 2 CD INA / Radio France 211788, 1998 |
107_20 | Journals
Stamps
1960: Marianne de Cocteau
See also
Jean Cocteau Repertory
List of ambulance drivers during World War I
Footnotes
References
Breton, André (1953). La Clé des champs, p. 77. Paris: Éditions du Sagittaire.Crucifixion translated into Bengali by Malay Roy Choudhury
Steegmuller, Francis (1970). Cocteau: A Biography. Boston: Atlantic-Little Brown & Company. .
Further reading
Evans, Arthur B. (1977). Jean Cocteau and his Films of Orphic Identity. Philadelphia: Art Alliance Press. .
Peters, Arthur King. (1986) Jean Cocteau and His World. New York: Vendôme Press.
Tsakiridou, Cornelia A., ed. (1997). Reviewing Orpheus: Essays on the Cinema and Art of Jean Cocteau. Lewisburg, Pa.: Bucknell University Press. .
Album Cocteau. Biographie et iconographie de Pierre Bergé. Bibliothèque de la Pléiade. Éditions Gallimard, 2006. .
External links |
107_21 | Cocteau/cinema Bibliography (via UC Berkeley)
Cocteau CMEF Cap d'Ail
Cocteau et La chapelle Saint-Blaise-des-Simples
Raquel Bitton: The Sparrow and the Birdman'', a drama focusing on the relationship of Cocteau to Edith Piaf
Maison Jean Cocteau – Cocteau's former home |
107_22 | 1889 births
1963 deaths
People from Maisons-Laffitte
Lycée Condorcet alumni
French ballet librettists
20th-century French dramatists and playwrights
French experimental filmmakers
French fantasy writers
French film directors
French illustrators
French novelists
20th-century French painters
20th-century male artists
French male painters
French poets
French male screenwriters
French screenwriters
Writers from Île-de-France
Prince des poètes
Christian poets
Christian novelists
Les Six
French gay writers
LGBT film directors
LGBT screenwriters
LGBT Roman Catholics
Surrealist filmmakers
French surrealist artists
French stamp designers
French Roman Catholics
Members of the Académie Française
Members of the Académie royale de langue et de littérature françaises de Belgique
Commandeurs of the Légion d'honneur
LGBT dramatists and playwrights
French LGBT poets
French LGBT novelists
Painters of the Return to Order
20th-century French screenwriters |
108_0 | Thorne Head Preserve is a 96 acre (39 hectare) property administered by Kennebec Estuary Land Trust (KELT) located at the extreme end of High Street in north Bath, Maine which includes half a mile of shoreline alongside Whiskeag Creek and the Kennebec River. The land was purchased in 2000.
The wildlife and nature preserve forms one end of the Whiskeag Trail and as such provides a trailhead kiosk with maps and rules and parking for about a dozen vehicles although there are no toilet or picnic facilities. The Preserve is open to the public free of charge from dawn till dusk daily.
History |
108_1 | There is evidence that Thorne Head has been occupied and utilized since the Abenaki traded along the river and gathered wild rice there and was known to European settlers as early as 1605, when George Waymouth entered the Kennebec River with 'some noblemen of England' and 'traversed as far to the north as the Whizgig River''' (the name referring to a whirling stream now refers to the Whiskeag Creek, which itself is said to derive from a native name, Kowasskik or Weskeag meaning 'Grassy River').
In 1640, land was deeded to the first European settlers, and from here white pine logs were exported back to England to provide wood for shipbuilding the King's Navy. Thorne Head continued to be logged into the 20th century and then the cleared areas became grazing pasture. Stone wall boundaries marking these pastures can still be seen today. |
108_2 | In 1751 Michael Thornton was the first resident to locate to Thorne Head and in 1752 the post road that led from Boston via Portland and Brunswick and along what is now High Street was extended through onto the first Kennebec River ferry where it crossed the river at the Narrows. The area known as Thorne Head has also been known as Thorn's Head'' as recently as 1906.
In 1993, the Maine Department of Inland Fisheries & Wildlife performed a critical habitat survey and noted Thorne Head as a high value habitat. In 1998, KELT began the process of purchasing the property and in April 2000 Thorne Head Preserve officially opened and became part of the Whiskeag Trail. In 2004 a gift of over 60 acres (24 hectares) - an area known as Sewall Woods, the woodlot adjacent to the Sewall family's dairy farm - was made to the trust by William D. Sewall. This in turn was enlarged in 2006 by the purchase of a further 26 acres (10.5 hectares) from Bath Housing Authority.
Flora and fauna |
108_3 | On October 29, 2017, a large storm crossed Maine causing widespread damage. Thorne Head did not escape this storm and many trees were broken or felled as a result. Many trees had to be removed from the public trails in the following week. The damage caused large openings to appear in what was dense woodland meaning that many of the trails are far more exposed than they were previously.
The preserve contains mixed forest which includes specimens of white pine (Pinus strobus), red pine (Pinus resinosa); a stand of which can be found at the northern end of the preserve, and Eastern hemlock (Tsuga canadensis). It is possible to also find examples of oak and maple.
The preserve protects over half a mile (0.8 km) of shoreline on both the Kennebec River and Whiskeag Creek. Many fish species live in the waters here including striped bass and short-nosed sturgeon. |
108_4 | It is possible on the trails to see deer, fox, raccoons and mink as well as various wild birds such as owls, bald eagles and migrating warblers.
Walking Trails
There are approximately 3.5 miles (5.6 km) of trails to explore. The trails are marked with colored paint blazes on the trees. There are usually paper maps available from the kiosk at the entrance to the Preserve. From the entrance it is possible to take either of two trails. Bath Gardening Club has placed signs throughout the preserve identifying various tree and plant species.
The terrain of the Preserve is varied. On most trails the elevation is gentle and the trails are easy to follow. Along the shoreline, the terrain drops off steeply.
Overlook Trail |
108_5 | The Overlook Trail runs roughly north and ends at the 'Mushroom Cap', a stone sculpture approximately a 10-minute walk from the car-park. This trail also intersects with the Whiskeag Trail, The Narrows, The Ridge Runner Trail and the Mushroom Cap Trail. There is also a short connecting trail known as The Sunset Loop.
Whiskeag Trail
The Whiskeag Trail is the longer of the two and ends up at Whiskeag Creek. Part of this trail is along the shoreline. It intersects with the Narrows Trail that loops around the tip of the peninsula. The Whiskeag Trail itself is a 5-mile (8 km) biking and hiking trail which connects Thorne Head Preserve to the Bath Area Family YMCA.
References
External links
PDF map of Thorne Head Preserve
Thorne Head Preserve at mainetrailfinder.com
The Whiskeag Trail at mainetrailfinder.com
Hiking trails in Maine
Bath, Maine
Sagadahoc County, Maine
Kennebec River
Land trusts in the United States |
109_0 | The Golden Gizmo is a 1954 novel by the thriller writer Jim Thompson.
Plot
Toddy Kent, a former con-artist with a rap sheet in a dozen cities is now working as a door to door gold-buyer in Los Angeles for Milt Vonderheim's jewelry shop. Despite his disreputable line of work, he is able to keep a low profile in fear of the police digging into his criminal past. He lives in a hotel with his wife Elaine. Elaine spends most of Toddy's money on booze, and is a regular in the drunk tank. Their relationship is toxic but Toddy can't bring himself to leave Elaine, despite his friends urging him to. Milt has been a fatherly figure and a good friend to Toddy and Elaine.
Toddy conceptualizes he has carried a "gizmo," a G.I. term for an unidentifiable, most of his life that time and again brings him the big break most men would kill for, only for it to slip through his fingers. |
109_1 | At the outset of the story, Toddy is working and despite wanting to quit for the day, he calls on the last house in the neighborhood. A man named Alvarado, whom Toddy will refer to as "Chinless," answers the door with his massive dobermann which seems to be able to speak English. Toddy has a bad feeling about the man, who invites him in, and although he wants to excuse himself he steps inside. In the living room Toddy spots a heavy gold watch on the table, and is introduced to Alvarado's beautiful companion Dolores Chavez. Paralyzed by fear of the dobermann, Toddy nervously attempts to explain the meaning of his visit. He opens the box he carries to show Alvarado his haul for the day. To demonstrate that he buys gold he picks the watch up off the table, discovering that it weighs ten times what it looks like it should. Inexplicably Alvarado tries to kick Toddy, but hits the dobermann instead. While the doberman is pouncing on Alvarado, Toddy unconsciously drops the gold watch into his |
109_2 | box and escapes. |
109_3 | Toddy heads back to Milt's shop, and Milt informs him that Elaine is in jail again. Toddy bails her out and takes her back to their hotel. The two argue and Elaine locks herself in the bathroom. While she is showering Toddy opens his box and discovers Alvarado's golden watch. Upon examination, he realizes its casing is made of a pound of twenty-four karat, pure gold. He hides the watch in his drawer and goes to Milt's shop. He asks Milt about selling large quantities of gold but Milt, knowing the risks, is not interested. Toddy heads back home and finds his room ransacked and Elaine strangled to death with a stocking. He looks out the window and sees a man on the fire escape with his leg caught. |
109_4 | The man is Donald, an enforcer for a small-time protection racket run by a man named Shake. Toddy forces Donald back to Shake's hideout and interrogates the two men. Donald claims to know nothing of Elaine's murder or the gold watch, he merely came upon the scene having gone to the hotel to extort Toddy. Toddy wrestles with feelings of guilt and relief at Elaine's death, and ponders leaving town, as he will be the prime suspect in her murder. |
109_5 | Out o the street Toddy spots Dolores in a parked convertible with the dobermann in the back seat. The dobermann chases Toddy down and brings him back to the car. Dolores takes Toddy to Alvarado's house. Alvarado demands Toddy return the gold watch but Toddy tells him it is gone and his wife has been murdered. Alvarado denies involvement, and Dolores corroborates this by saying she checked out the hotel room and there was no dead body. Alvarado reveals he is an agent of a foreign government-operated gold-smuggling ring. He tells Toddy his gold supplier wants out of the operation and probably murdered Elaine to frame Alvarado thus blowing the ring's cover. He tells Toddy to wait for him in Tijuana.
Milt takes a phone call from Alvarado revealing that he is the gold-supplier to Alvarado's group of South American gold-smugglers and he murdered Elaine to get Toddy out of the picture. |
109_6 | Meanwhile, a bale bondsman named Airedale Aahrens is hired to bring Elaine into court for her misdemeanor drunk and disorderly. He goes to Toddy's hotel room but finds nothing except a wisp of hair in the clamp of the incinerator stack. He suspects Elaine is dead and her body was burned.
Toddy meets Dolores in Tijuana and she takes him to San Diego to see Alvarado. Later Alvarado reveals he intends to silence them all to conceal his operation and shows Toddy two coffins containing his dobermann and Dolores, both drugged with chloroform. A struggle ensues, shots are fired, and the dobermann wakes up and kills Alvarado. Toddy revives Dolores from the chloroform and they share an intimate moment just as the police arrive. Toddy is arrested and Dolores is released because she has a student visa and no criminal record. |
109_7 | In police custody Toddy has concluded that Milt is Alvarado's gold supplier and convinces treasury agent McKinley to release him to track Milt down. Toddy goes to Milt's shop and accuses him of the whole plot. Dolores arrives, as she had been lured there by Milt. Elaine, who faked her own death, emerges with a gun from behind a curtain. Milt wanted to steal Elaine from Toddy, and brought her into the plot with the promise of living rich. Milt and Elaine take Toddy and Dolores in a car to the beach to kill them and dispose of their bodies in the ocean. Elaine double-crosses Milt and shoots him. Just as she is about to shoot Toddy, federal agents who had been tailing them arrive and gun her down. Toddy reflects that his golden gizmo is finally gone for good.
References
External links
Goodreads
1954 American novels
Novels by Jim Thompson
Novels set in New York (state)
English-language novels
American crime novels |
110_0 | A tom drum is a cylindrical drum with no snares, named from the Anglo-Indian and Sinhala language. It was added to the drum kit in the early part of the 20th century. Most toms range in size between in diameter, though floor toms can go as large as . It is not to be confused with a tam-tam, a gong. The Tom is popular and used by players worldwide.
Design history
The drum called "Thammattama", played by the Sinhala people of Sri Lanka, is used in a number of Buddhist rituals in that country. It is commonly heard in Buddhist temples paired along with the reed instrument called horanava. This may be etymologically derived from the Tamil term "Thappattam" or "Thappu", a frame drum associated with South Indian Tamil culture. However, the tom-tom drums on the Western drum set clearly resemble the Sri Lankan version more than the frame drum. |
110_1 | The British colonists complained loudly about the noise generated by the "tom-toms" of the natives throughout South Asia. It is likely that the term tom-toms thus comes from their experiences in colonial Sri Lanka (then called Ceylon) or South India. The term "tom-tom" also has variants in the Telugu and Hindi languages, but only in Sri Lanka is there an indigenous drum with the same name (thammattama). Perhaps because of Americans' lack of experience with Asian cultures, the term is often misattributed to the Chinese, given that "tam-tam" in Western classical music refers to a Chinese gong. |
110_2 | The first American drum set toms had no rims and were usually what were referred to as "Chinese" tom toms. The pigskin heads were tacked to the wooden shells with metal tacks. Through close collaboration with Gene Krupa's concept of fully tunable toms, the Slingerland drum and banjo company were the first, in 1936, to begin offering fully tuneable tom-toms (top and bottom heads) with metal or wooden rims, tension rods, and lugs. Most Chinese toms were 10 to 14 inches in diameter, but the American drum companies were eventually producing a wider range of diameters and depths. These drums were usually clamped to the bass drum rims or sat in cradles as floor stand drums. The sizes that Krupa chose became the "standard" for many decades and they were 13 × 9″ (mounted) and 16 × 16″ (floor). Later, mounted on three (or, if larger than 16 × 16″, four) legs were attached to the floor tom designs. Together with a snare drum and a bass drum of varying size, the combination of the four drums |
110_3 | became a "set". (The term "kit" did not appear until the mid 1960s.) |
110_4 | Later, the mounted toms, known as hanging toms or rack toms, were deepened by one inch each, these sizes being called power toms. Extra-deep hanging toms, known as cannon depth, never achieved popularity. All these were double-headed.
Modern versions
A wide variety of configurations have been available and in use at all levels from advanced student kits upwards. Most toms range in size between in diameter, though floor toms can go as large as .
Classic rock setups
Standard diameters
In the 50s and early 60s, it was common to have only a single hanging tom (a 13") and a single floor tom (16"). |
110_5 | A basic rock configuration consists of 12" and 13" hanging toms, and a 16" floor tom with diameter × depth in inches used throughout this article. For a more detailed description of the conventions and their usage, see drum size conventions.
A basic fusion configuration refers to a set-up which has 10", 12" and 14" diameter toms, Note that these terms do not imply drum depths, so for example, the 14" in a fusion setup could have depth 10, 11, 12, or could be a 14×14 floor tom.
The terms "fusion" and "rock" are marketing terms invented by drum manufacturing companies, and there is no absolute definition for them; more a case of an accepted norm.
Standard depths
In the 1950-1980s the standard depth rack toms were 12×8 and 13×9. This "classic" configuration is still popular. Concert toms came in the early 1970s. With Ludwig producing single headed toms in 6x5.5,8x5.5,10x6.5,12x8,13x9,14x10, 15x12 16x14 mounted in pairs on a stand. |
110_6 | "FAST" sizes are 10×8, 12×9, 13×10, etc., a marketing term used by DW, although not unique to DW, but with all drum manufacturers.
The "New standard" sizes - 10×9, 12×10, 13×11, etc. are 2" deeper than what was considered "standard" in the 1950s.
"Power" toms are one inch deeper than standard, with sizes of 10×9 or 10×10, 12×11, 13×12, which overtook the classic setup in popularity during the 1980s.
Square - 10×10, 12×12, 13×13, etc., have been common in the 1980s and 1990s. Hyperdrive are shallow depths made popular initially by Tama: 10×6.5, 12×7, 13×7.5, etc.
Variations
Single-headed |
110_7 | Single-headed tom-toms, also known as concert toms, have also been used in drum kits, though their use has fallen off in popularity since the 1970s. Concert toms have a single head and a shell slightly shallower than the corresponding double-headed tom. Phil Collins still uses four single-headed rack-mount toms and two floor toms (Gretsch) in his setup. They are generally easier to tune as they have no bottom head to adjust.
The term concert tom has also been used to describe double- or single-headed tom-tom drums designed for use in a concert band rather than in a drum kit. |
110_8 | Rototoms
Rototoms have no shell at all, just a single head and a steel frame. Unlike most other drums, they have a variable definite pitch and some composers write for them as a tuned instrument, demanding specific notes. They can be tuned quickly by rotating the head. Since the head rotates on a thread, this raises or lowers the head relative to the rim of the drum and so increases or decreases the tension in the head.
Gong bass drum
A gong bass drum (also known as "gong drum"), is a large, single-headed tom often sized at or , with the drumhead being larger than the shell. The sound produced is similar to a bass drum, though it is more open and has longer sustain. They can be mounted with standard floor tom legs, though many drummers mount them at an angle next to the floor tom(s). Notable users include Neil Peart, Stewart Copeland, Bill Bruford, Simon Phillips, Jason Bittner, Mike Portnoy and Dom Howard. |
110_9 | Floor tom
A floor tom is a double-skin drum, most often but not always as deep as its diameter, traditionally mounted on three legs and to the drummer's right for a right-handed drummer. It is normally the deepest-toned drum played by sticks in the kit, above the bass drum but below all others, and the most resonant, more so than even the bass drum.
Construction and manufacture
Typically, a tom consists of a shell, chromed or plated metal hardware and head. Shell depth standards vary according to the era of manufacture and drum style. Tom-toms are typically made in diameters of: , , , , , , , and , with heads to fit.
Tom-toms can be fitted with an adjustable mounting for a floor stand, or attachment to a bass drum or marching rig. They can be single- or double-headed. |
110_10 | Shell
A crucial factor in achieving superior tone quality and insuring durability, especially with wood, is the creation of perfectly round shells and much research and development has been put into this manufacturing technology.
Shells are often constructed of 6–8 wood plies (often using different woods e. g. mahogany and falkata — birch or maple are commonly used for single-wood plies), solid wood (turned) or man-made materials (e. g. fibreglass, pressed steel, acrylic glass, resin-composite). Wood or composite shells can be finished by laminating in plastic in a large variety of colours and effects (e. g. sparkle or polychromatic); natural wood may be stained or left natural and painted with clear lacquer. Steel is usually chromed, fibreglass self-coloured and acrylic glass tinted or clear.
Hardware |
110_11 | For drum hardware one or two cast or pressed metal rims attach by threaded tension rods or lugs to nut boxes bolted onto the shell and hold the heads onto the bearing edges of the shell. The tension rod assembly needs to be precision-machined, cast and fitted to enable predictable and secure tuning without inhibiting resonance or introducing extra vibration. All components will be placed under great tension and experience added stresses from playing.
Mounting systems vary greatly, from a simple cast block on the shell which accepts and clamps to a rod attached to a clamp or holder to much more sophisticated arrangements where there is no attachment to the shell, instead a frame clamps to the tuning lugs. |
110_12 | Another sort of rod clamp system allows attachment of the drum to the tom holder without the need of a hole in the drum shell for the rod to pass through. The clamp is attached to the shell at the nodal point with two bolts so as to allow the shell to vibrate freely without degrading the shell's dynamic range and sustain. The nodal point is the location on a shell with the least amount of vibration allowing for the mount to have minimal effect on the resonance of the shell.
Some drummers use a snare stand to hold and to make it easier to position the tom.
Sound
References
Directly struck membranophones
Drums
Drum kit components
Marching percussion
Orchestral percussion |
111_0 | Taos County is a county in the U.S. state of New Mexico. As of the 2010 census, the population was 32,937. Its county seat is Taos. The county was formed in 1852 as one of the original nine counties in New Mexico Territory.
Taos County comprises the Taos, New Mexico Micropolitan Statistical Area.
Geography
According to the U.S. Census Bureau, the county has a total area of , of which is land and (0.06%) is water.
The county's highest point is the summit of Wheeler Peak at 13,161 feet (4,011 m). This is also the highest natural point in New Mexico. The county has the highest mean elevation of any U.S. county outside of Colorado at , even though it ranks only 22nd overall. Taos County contains 17 of New Mexico's highest 25 peaks.
Adjacent counties
Rio Arriba County - west
Mora County - southeast
Colfax County - east
Costilla County, Colorado - north
Conejos County, Colorado - northwest |
111_1 | National protected area
Carson National Forest (part)
Rio Grande del Norte National Monument
Demographics
2000 census
As of the 2000 census, there were 29,979 people, 12,675 households, and 7,757 families living in the county. The population density was 14 people per square mile (5.2537/km2). There were 17,404 housing units at an average density of 8 per square mile (3.0500/km2). The racial makeup of the county was 63.77% White, 0.35% Black or African American, 6.59% Native American, 0.38% Asian, 0.12% Pacific Islander, 24.84% from other races, and 3.95% from two or more races. Hispanic or Latino of any race were 57.94% of the population. |
111_2 | There were 12,675 households, out of which 29.90% had children under the age of 18 living with them, 42.70% were married couples living together, 12.70% had a female householder with no husband present, and 38.80% were non-families. 32.10% of all households were made up of individuals, and 8.90% had someone living alone who was 65 years of age or older. The average household size was 2.34 and the average family size was 2.98.
In the county, the population was spread out, with 24.50% under the age of 18, 6.90% from 18 to 24, 27.40% from 25 to 44, 28.80% from 45 to 64, and 12.30% who were 65 years of age or older. The median age was 40 years. For every 100 females there were 96.20 males. For every 100 females age 18 and over, there were 93.70 males. |
111_3 | The median income for a household in the county was $26,762, and the median income for a family was $33,995. Males had a median income of $27,310 versus $21,121 for females. The per capita income for the county was $16,103. About 16.10% of families and 20.90% of the population were below the poverty line, including 24.60% of those under age 18 and 20.80% of those age 65 or over.
2010 census
As of the 2010 census, there were 32,937 people, 14,806 households, and 8,437 families living in the county. The population density was . There were 20,265 housing units at an average density of . The racial makeup of the county was 68.7% white, 6.2% American Indian, 0.7% Asian, 0.4% black or African American, 19.1% from other races, and 4.9% from two or more races. Those of Hispanic or Latino origin made up 55.8% of the population. In terms of ancestry, 10.8% were English, 10.3% were German, 9.0% were Irish, and 1.2% were American. |
111_4 | Of the 14,806 households, 26.2% had children under the age of 18 living with them, 38.3% were married couples living together, 12.6% had a female householder with no husband present, 43.0% were non-families, and 36.0% of all households were made up of individuals. The average household size was 2.19 and the average family size was 2.85. The median age was 45.2 years.
The median income for a household in the county was $35,441 and the median income for a family was $43,236. Males had a median income of $34,245 versus $28,325 for females. The per capita income for the county was $22,145. About 14.5% of families and 17.0% of the population were below the poverty line, including 28.3% of those under age 18 and 11.9% of those age 65 or over.
Communities
Towns
Red River
Taos (county seat)
Villages
Questa
Taos Ski Valley
Census-designated places |
111_5 | Arroyo Hondo
Arroyo Seco
Chamisal
Costilla
Peñasco
Picuris Pueblo
Ranchos de Taos
Rio Lucio
San Cristobal
Talpa
Taos Pueblo
Vadito
Other communities
Amalia
Cañoncito
Carson
Cerro
El Prado
El Rito
Las Trampas
Llano
Llano Quemado
No Agua
Ojo Caliente
Pilar
Tres Piedras
Valdez
Politics
Taos County is heavily Democratic. The last Republican candidate to win the county was Richard Nixon in his 1972 landslide, although his margin of victory was just over 2%.
In popular culture
The Rio Grande Gorge Bridge is featured in the 1994 crime-drama film Natural Born Killers, in the 2007 comedy Wild Hogs, and in the 2009 film Terminator: Salvation.
The 2007 film Garbage Warrior documents architect Mike Reynolds who builds Earthships in and around Taos County.
See also
National Register of Historic Places listings in Taos County, New Mexico
References
External links
TaosCounty.net |
111_6 | 1852 establishments in New Mexico Territory
Populated places established in 1852 |
112_0 | Frederick Lynn "Rick" Jenks (January 3, 1942 – October 24, 2010) was a professor emeritus at Florida State University (FSU), having joined the faculty in 1971. As a member of the faculty of the College of Education, he designed and directed the internationally recognized doctoral and master's programs in Teaching English as a Second/Foreign Languages (TESL/TEFL), which he led for more than twenty years. Jenks served as major advisor for fifty doctoral dissertations and more than 300 master's degree recipients. He founded and directed The Center for Intensive English Studies (CIES) at FSU from 1979 to 2002. He was an adjunct professor at Flagler College, a Fulbright Senior Specialist, a legal expert witness in second language assessment and an advocate in the Florida legislature for public-school English language learners. He was born in Buffalo, New York. |
112_1 | In 1982, he designed and directed the first MA-TESOL program delivered by an American university totally outside the United States. Sponsored by ARAMCO, the Saudi Arabian oil company, the innovative program graduated 72 students during the five-year contract. He and Dr. James D. Brown, the program coordinator, were assisted by numerous TESOL experts including Drs. Stephen Gaies, Thomas Buckingham and David Eskey. |
112_2 | Panama Canal Branch |
112_3 | From late 1996 through 2000, he was the Director of Florida State University Panama Canal Branch campus in the Panama Canal Zone which, via a long-term contract with the U.S. Department of Defense, served as the Canal Zone's primary university, offering degree programs to military personnel and families, Canal Zone employees and residents, and Panamanian citizens. His mission was to seek ways for the university to continue operations after the reversion of the Canal Zone to the Republic of Panama in late 1999. The politically sensitive goal was achieved with support from the President and Legislative Assembly of Panama, USAID, Panamanian alumni and the U.S. Embassy. Former U.S. Ambassador to Panama, Simon Ferro, stated in 2000 that "The largest remaining U.S. footprints in the Republic of Panama are the Embassy and Florida State University-Panama." Jenks was instrumental in acquiring from the Panamanian government exclusive use of the former campus of the Panama Canal College, |
112_4 | formerly the Canal Zone's community college. Today, FSU-Panama is chartered as a private Panamanian university, offering degree programs under an academic accord with FSU. |
112_5 | Works
He was founding editor of the quarterly American Foreign Language Teacher from 1969 to 1974, edited twenty books and monographs on language education for Advancement Press of America, and served as editor of Heinle & Heinle's Foreign and Second Language Education series from 1978 to 1981.
His professional writing can be found in journals ranging from Classical Outlook to TESOL Journal, and in numerous books, festschrift and anthologies. A popular speaker, Jenks delivered over 100 keynote addresses and papers at international and national conferences. |
112_6 | A former member of the Executive Board of the American Council on the Teaching of Foreign Languages (ACTFL, NAFSA-ATESL, and chairman (1978) of the Southern Conference on Language Teaching, Jenks served on numerous committees of TESOL (Teachers of English to Speakers of Other Languages), ad was a founding member of TESOL International Research Foundation (TIRF). From 1987 to 2004, he was actively engaged as a member of several ETS-TOEFL committees including the Policy Council, Research Committee and TSE revision committee. |
112_7 | As an Academic Specialist for the U.S. Department of State, Jenks completed three assignments in the former Yugoslavia (1983, 1984, 1989) and one in East Germany (1991). In 1987, he was chosen as the first U.S. TEFL professor to offer in-service teacher training in the former Czechoslovakia after 31 years of USSR occupation. That same year, he was appointed Distinguished Visiting Professor of English and International Studies at the University of Tennessee, Martin. In 1993,he was selected as a Fulbright Senior Scholar at Universidad Autonoma de Heredia, Costa Rica, thereafter joining and chairing the Fulbright EFL Selection Committee. |
112_8 | Jenks was awarded the PhD by Wayne State University, having previously earned a Master of Arts degree from Case Western Reserve University (1966) and the Bachelor of Arts in Modern Languages from Grove City College in 1963. Jenks received the Heinle & Heinle Award for Excellence in Teaching from the Teachers of English to Speakers of Other Languages (TESOL) in 2002.
Personal
Jenks lived in Tallahassee with his wife, Lynn Priestley, a noted regional landscape artist. He died at a Tallahassee hospice in 2010.
Notes
External links
Faculty page at WSU
Faculty page at FSU
Florida State University faculty
Wayne State University alumni
Case Western Reserve University alumni
Grove City College alumni
2010 deaths
1942 births |
113_0 | Prince Heinrich XXIV Reuss of Köstritz, also Prince Heinrich XXIV Reuss, Younger Line (German: Heinrich XXIV. Prinz Reuß zu Köstritz, also Heinrich XXIV. Prinz Reuß jüngere Linie, December 8, 1855 in Trebschen – October 2, 1910 in Ernstbrunn, Austria) was a German composer.
Life
Heinrich XXIV was born in Trebschen in the March of Brandenburg, descendant of the Reuss-Köstritz line, the Younger Line, of the extended German noble family of Reuss. He was the son of Prince (Fürst, monarch) Heinrich IV Reuss of Köstritz (26 April 1821 - 25 July 1894) and Princess Luise Caroline Reuss of Greiz (3 December 1822 - 28 February 1875) and a brother of Eleonore Reuss of Köstritz, Tsaritsa of Bulgaria. Heinrich XXIV spent his youth in Vienna, where he was influenced greatly by the artistic atmosphere of his parents' home. He received his first music lessons in piano, organ and counterpoint from his father Heinrich IV, himself a dilettante and composition student of Carl Gottlieb Reissiger. |
113_1 | Heinrich XXIV received formal music instruction in Dresden, and continued his studies at the Universities, first in Bonn, then in Leipzig where he was a pupil of Wilhelm Rust. Despite his obvious musical talent, he decided to pursue a degree in law. After graduating in 1883, however, he devoted himself almost exclusively to his musical interests. Starting in 1881 he studied composition with Heinrich von Herzogenberg, to whom he developed a friendly attachment. Through Herzogenberg he came to know Johannes Brahms, whom he much admired. Although he never received formal instruction from Brahms, he did receive many helpful hints from Brahms, "teaching him more in ten minutes than Herzogenberg managed to do in months." |
113_2 | On May 27, 1884, Heinrich XXIV was married to his cousin Princess Elisabeth Reuss of Köstritz (1860–1931). The union produced five children. Heinrich XXIV Reuss of Köstritz died two months before his 55th birthday in Ernstbrunn in Lower Austria, the ancestral seat from 1828.
Musical style
The musical style of Heinrich XXIV was strongly influenced by Brahms, however, on the whole it differs from that being lighter in tone, and thus resembles more the style of his teacher, Heinrich von Herzogenberg. A stylistic proximity to the works of Antonín Dvořák is evident. Heinrich XXIV's compositions display a masterful command of musical form and technique, especially in contrapuntal voice leading. As with Brahms, Dvořák and Herzogenberg, chamber music was his main field of creativity; he contributed numerous works in various genres. Notable among his other creations are his six symphonies. |
113_3 | During his lifetime, the compositions of Heinrich XXIV enjoyed a good reputation even in academic circles. Max Reger was also one of his admirers. Even in the years after his death, his compositions were warmly recommended by various musical authorities, as expressed, for example, by the musicologist Wilhelm Altmann in the third volume of his Handbook for String Quartet Players published in 1929. He wrote concerning the String Sextet No. 2 in B minor: "[It] is a work with artistic value close to that of the two Brahms Sextets. Every friend of chamber music should know it." Since 1930, word of the composer and his works has become increasingly silent.
Selected works
Orchestra
Symphony No. 1 in C minor, Op. 10 (1892)
Symphony No. 2 in D major - LOST (Stolle biography, p. 103)
Symphony No. 3 in E minor, Op. 28 (1907)
Symphony No. 4 in A major, Op. 30
Symphony No. 5 in F minor, Op. 34 (published 1907)
Symphony No. 6 in E major, Op. 36 (published 1909) |
113_4 | Chamber music
String Quartet No. 1 in D minor, Op. 1 (1881?)
String Quintet in F major for 2 violins, 2 violas and cello, Op. 4 (1887)
Sonata No. 1 in G minor for violin and piano, Op. 5 (published by Peters, 1888)
Piano Quartet in F minor, Op. 6 (1895)
Sonata in C major for cello and piano, Op. 7 (1895)
String Quartet No. 2 in F major, Op. 11
String Sextet No. 1 in D minor, Op. 12 (1899)
Piano Trio in C minor, Op. 14 (1903)
Piano Quintet in C major, Op. 15 (1902)
String Quartet No. 3 in A major, Op. 16 (1903)
String Sextet No. 2 in B minor, Op. 17 (1902)
Sonata No. 2 for violin and piano, Op. 21 (published c.1880?)
Sonata in G major for viola and piano, Op. 22 (by 1904)
String Quartet No. 4 in G minor, Op. 23, No. 1 (published 1904)
String Quartet No. 5 in E major, Op. 23, No. 2 (pub. 1904)
Piano Trio in A major for violin, viola and piano, Op. 25 |
113_5 | Piano
Drei Präludien (3 Preludes), Op. 2
Suite, Op. 8 (1895)
Praeludium
Allemande
Gavotte
Siciliano
Bourrée
Sarabande
Gigue
Variationen und Fuge über ein eigenes Thema (Variations and Fugue on an Original Theme), Op. 19 (published c. 1904)
Vocal
Fünf Lieder (5 Songs) for voice and piano, Op. 3 (1883); texts by Ludwig Uhland and Nikolaus Lenau
Tu nos fecisti ad te, Motet for mixed chorus a capella, Op. 24 (published c. 1890); text by Aurelius Augustinus
3 Geistliche Lieder (3 Sacred Songs) for 3-part women's chorus and organ or piano, Op. 27 (published 1907)
References
External links
Heinrich XXIV Prinz Reuss zu Köstritz lineage at thepeerage.com |
113_6 | 1855 births
1910 deaths
19th-century classical composers
19th-century German musicians
19th-century German male musicians
20th-century classical composers
20th-century German composers
20th-century German male musicians
German Romantic composers
German male classical composers
People from the Province of Brandenburg
People from Zielona Góra County
Princes of Reuss |
114_0 | The River Ure in North Yorkshire, England is approximately long from its source to the point where it becomes the River Ouse. It is the principal river of Wensleydale, which is the only major dale now named after a village rather than its river. The old name for the valley was Yoredale after the river that runs through it.
The Ure is one of many rivers and waterways that drain the Dales into the River Ouse. Tributaries of the Ure include the River Swale and the River Skell.
Name
The earliest recorded name of the river is in about 1025, probably an error for , where represents the Old English letter wynn or 'w', standing for ("water"). By 1140 it is recorded as Jor, hence Jervaulx (Jorvale) Abbey, and a little later as Yore. In Tudor times the antiquarians John Leland and William Camden used the modern form of the name. |
114_1 | The name probably means "the strong or swift river". This is on the assumption that the Brittonic name of the river was Isurā, because the Roman name for Aldborough was Isurium; intervocalic s is known to have been lost in Brittonic at an early date. This explanation connects the river name with an Indo-European root is- meaning "strong" and the names of the Isar in Germany and the Isère in France.
Course
The source of the river is Ure Head on Abbotside Common where it flows west south-west to the valley floor and then turns south. Where it reaches the A684 it turns east along Wensleydale as far as Wensley. From here it flows south-east to Jervaulx Abbey and shortly after south to Mickley. Here it returns east and then south to Ripon. A little way after Ripon it flows east again to Boroughbridge. |
114_2 | To the east of Boroughbridge, the Ure is joined by the River Swale. About downstream of this confluence, at Cuddy Shaw Reach near Linton-on-Ouse, the river changes its name to the River Ouse.
Water levels
Low and high water levels are average figures.
Geology
Upper Wensleydale is high, open and remote U-shaped valley overlying Yoredale Beds. The gradient is gentle to the north end of the valley, becoming steeper further south. Glacial drumlins lie either side of the river, which is shallow but fast flowing. The river is fed from many gills cutting through woodland and predominantly sheep farmsteads. The Settle to Carlisle railway runs along the western side of the valley here. |
114_3 | Mid Wensleydale is made of Great Scar limestone under Yoredale beds that make up the valley sides, which are marked with stepped limestone scars. The valley floor is made from glacial drift tails and moraine. The river here is broad and gently flowing in meanders in a stony channel. There are four tributary valleys that contribute to several waterfalls in this area.
Lower Wensleydale is a broader version of mid Wensleydale with the river gently meandering until it drops significantly at Aysgarth over the platformed waterfalls. The valley sides become increasingly wooded.
From Middleham onwards the river is a typical mid-age river and meanders in wider arcs as it flows south-east.
History |
Subsets and Splits